Top Ten Electric Miles Davis Recordings

I decided to list my top ten favorite Miles Davis recordings of the electric period. Miles is not just one of the biggest musicians of all time, but one of the biggest artists of all time- regardless of discipline. His entire career output is of the highest quality, extremely forward thinking, and extremely varied. I am a big fan of all of his periods, but the area I think he his going to be remembered the most is for his revolutionary electric period. In this period he not only created cutting edge music, but he actually invented a new genre or two and with 'On The Corner', he and Teo Macero pioneered and revolutionized modern record making techniques. Don't listen to those who say he sold out, they just simply have not listened. Miles' electric period, especially in the early stages before his first retirement is some of the most challenging listening you will encounter. The music is groove-oriented dissonance which keeps me going back again and again. Plus, you have the extremely amazing bass playing of Michael Henderson, one of my favorites bassists period.

So here it is:

1. On the Corner
   
2. Bitches Brew
   
3. In Concert: Live at Philharmonic Hall
   
4. In a Silent Way
   
5. Agharta
   
6. A Tribute to Jack Johnson
   
7. Live-Evil
   
8. Pangaea
   
9. Dark Magus: Live At Carnegie Hall
   
10. Get Up with It
    

Jeff Berlin-Impact and Thoughts

I was lucky enough to study with electric bass great, Jeff Berlin a couple of times throughout my life; while I was at Musicians Institute (although I was 18 and intimidated and mostly just sat and listened to his playing), privately at The Bass Centre, when it was near Laurel Canyon (now only in London), and lastly when he taught for a year at CalArts, right before he started his Players School in Clearwater, FL.

He is, without a doubt, one of the top-two, best pedagogical experiences I have ever had for tonal improvisation. (Gary Willis and him are tied as far as I'm concerned. Both an extreme wealth of information.) I still work on the material he gave me 15 years ago; partly from procrastination on my part and mostly because of the overwhelming amount of information to absorb!

Jeff's material is not always the best in my opinion, but his playing is undeniable. A true master. Forget what people think or say about him and listen to what he plays, it is of the highest caliber and unlike any other bass player out there. No licks, all idea-based improvisation, and all with a deep knowledge of harmonic thinking.

Listen: Bass Solo on "Manos de Piedra"
Listen: Bass Solo on "Water On The Brain Pt.2"
Listen: Unaccompanied Bass solo "Dixie"


As an extra: There is a lot of bullshit reactions on the internet about Jeff (from people who don't know Jeff, or have ever met him quite frankly) and some of his pedagogical beliefs: not using metronomes, fretless bass, 5 & 6 string basses, anti-tablature, and so on. The fact of the matter is that these are his truths and he is passionate about them. A lot of people thought Charles Mingus or Miles Davis were a dicks as well. Doesn't negate their genius, end of story.

I have to say when I studied with him, I was (and still am) a 5-string, fretless bass player and you know what? He called me on it and I explained that this is what I wanted to do (I had been playing fretless exclusively for 4 years in 1994, when I last studied with him. I didn't even own a fretted bass from 1990 to 1996). In the end, he told me, "To each his own" and talked about the extra work to get your ears developed and a couple of lessons later gave me my biggest compliment by saying that I "didn't sound like Jaco". I think that is THE highest compliment a fretless player can hear after so many were subjected to third-rate Jaco clones for so many years.

Also, on the matter of metronomes, even though Jeff doesn't advise using metronomes*, I have used metronomes all throughout my practice time, clicking only on 2&4, only on 1,2,3, or 4, etc. I think they can help a bit, but I also think that using a metronome hasn't been the major reason for success in my time feel. Over the last couple of years, I have become a bit ambivalent about them. I attribute "good time" more to the learning and thinking in subdivisions that studying Indian Tala has taught me, i.e.: What speed (subdivision) are we in? 2 speed (1/8th), 4-speed (1/16th), 3-speed (12/8)? I think that in thinking in this way, It has become easier to play with metronomes.

Let's be clear: That is the opposite effect of what is supposed to be the prescribed course of "playing w/ metronome=good time".

My observations.

*(He's hardly the only one. Tabla master, Swapan Chaudhuri also told his tala class on the first day not to use a metronome; as well, I heard West African drummer Alfred Ladzekpo tell his class to listen for speeding up and slowing down instead of using a metronome)

John Francis Pastorius III

I just saw it is Jaco's birthday today. For those who don't know, he was the equivalent to electric bass guitar that Jimi Hendrix was to electric guitar. The way that the instrument is looked at was forever altered and it's possibilities dramatically increased by his contributions. He passed on in the late 80's. I was a youngster just starting on bass an was mostly into Def Leppard and Kiss, when my life was forever changed by two records I bought simultaneously: Stanley Clarkes first album and Jaco's first album.

Not only did Jaco bring fretless bass to the masses, he also possesed uncanny abilities; the use of harmonics in particular (guys really didn't know what he was doing it was esoteric and uncharted territory for the vast majority of players). His facility and fluidity were just about untouchable, light years beyond most bassists and the best part, his groove never suffered. His time feel is organic and never seems to falter.

Also, in the days of muddy bass his tone was crisp, punchy, and up front. Not always the ideal bass tone for working bassists, but you hear him play one note and you instantly know it is Jaco.

Undeniable.

Listening List:

Jaco Pastorius- Jaco
Joni Mitchell - Shadows and Light
Joni Mitchell - Hejira
Jaco Pastorius - Word of Mouth
Jaco Pastorius - Twins I & II
Pat Metheny - Bright Size Life
Albert Mangelsdorff - Trilogue - Live!

Improvisation/Composition

Is it important to know whether or not the music you are listening too is composed or improvised? Does it change your listening criteria? Is the quality affected? Does the knowledge change your listening perception?

I remember a well known harpist telling me that she didn't like listening to composed music much anymore because she could almost always hear where the music was going and could second guess the musical outcome, but when listening to free improvisation, she was constantly surprised in the directions that the music would take and that it was always more fulfilling to her in the end.

Not the usual response from a music listener...in fact I almost always hear the exact opposite response from people. I hear people don't like improvisation because it is formless and sounds chaotic. They like the safe harbor of form and structures laid out before them.

Don't know exactly where I am going with this, but it is fascinating,.